Original Ottoman Turkish Text
Metre: Mefâ‘îlün Mefâ‘îlün Fa‘ûlün
Ḳulaḳdan olmışıduḳ gerçi ‘âşıḳ
Bi-ḥamdillah ki ḫoş gösterdi Ḫâlıḳ
Ne söz söylendise ḥaḳḳında ṣâdıḳ
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Yeşil dîbâyi geymişler çemenler
Yaḳarlar sîm ḳandîl yâsemenler
Her eṭrâfı gül ü serv ü semenler
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Kenârı ṣâfi cûy-ı erġavânlar
Aḳar her yañada âb-ı revânlar
Demâġa bû baġışlar câna cânlar
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Hevâsı mu‘tedildür ṣuyı kevs̱er
Dıraḫtı nâr-venle serv ü ‘ar‘ar
Otı reyḥân u sünbül ḫâki ‘anber
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Biter deryâsı içre nîlûferler
Ruḫ-ı zerdi virür ‘aşḳdan ḫaberler
Gülistânlar teferrüc-gâh yerler
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Yapılmış bir serîr-i ‘âlî eyvân
Yeşil yapraḳlar olmış aña seyvân
İçindedür anuñ ol şâh-ı devrân
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Çü şâhuñ beytini ma‘mûr gördüm
İçinde berḳ urur ol nûr gördüm
Aña ṣaf baġlamışlar ḥûr gördüm
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Ki bir ḫurşîd-ṭal‘at meh-cebîndür
Ḫadin kim görse dir kim yâsemîndür
Ṭavâf-ı kûyı ṣan ḫuld-ı berîndür
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Lebi yâdına olmış germ lâle
Ṭurur yek-pâ ṭutar elde piyâle
Ḳurardı üstine ḫayme-i vâla
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Pür olmışdı güliyle ṣaḥn-ı gülşen
Ḳabaġı ṭoldurup ṭutmuşdı sûsen
Çemen sulṭânı güldür vech-i aḥsen
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Düzetmiş ṭûti ḳumrı çengine çeng
Nevâda sâza ṭutmış ḳuşlar âheng
Eline bâde almış lâle gül-reng
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Terennümler ḳılurdı anda bülbül
Ṣafâsından didi ḫandân olup gül
Ṣurâḥî mül demidür ne taḥammül
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Ḳamu eşcâr cem‘ olmış bu câya
Feraḥdan her biri ḳarṣardı aya
Melek ṣalmış meger üstine sâye
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Güle nergis ṭurup süzmiş gözini
Açılmış ġoncalar düzmiş yüzini
Budur firdevs bâġınuñ güzîni
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Çiçekler vecde gelmiş eylemiş cûş
Kimi ser-ḫôş olmış kimi ḫâmûş
Bular ḫoş aşḳ ayaġın eylemiş nûş
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Emîr-i ‘âşıḳân gül-bû ḳaranfül
Biter anda benefşe nergis ü gül
Güle ḳarşu ider efġân bülbül
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Ger ‘âḳil iseñ aña ṭoġrı ṭut râh
Varıṭur almalu baḫçaya her gâh
Aġaçlar sâye ṣalmış ṣanki ḫar-gâh
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Ne dil ile ḳılam taḳrîr ânı
Dinilmez ḥaşre dek anuñ beyânı
Bulınmaz ser-te-ser gezseñ cihânı
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Yapılmış anda bir şâḥâne ḥammâm
Yeñi Ḥammâm dirlermiş aña nâm
Hem olmış ay u güneş saḳfına câm
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Ṣuyı cüllâba beñzer ḥavżı vardur
Mal-â-mâl olmış içi âb-ı güldür
Diyâr-ı Rûm içinde şimdi birdür
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Eyü çekdük bu devrânuñ cefâsın
Görelüm bâri bir kerre vefâsın
Sürelüm ẕevḳ ile imdi ṣafâsın
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Zihî vaḳt ü zihî ẕevḳ u zihî dem
Feraḥlar geldi gitdi ġuṣṣa vü ġam
Diyeyin cân ile ben daḫi her dem
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Zihî ferḫunde-ṭâli‘ bunda her gâh
Muḳîm olur bu câya sâl ü yâ mâh
Ki geçmiş ‘ömrümüz ḥayfâ hezâr âh
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Du‘âlar eyle Mihrî şehriyâra
K'anuñ luṭfından irdüñ bu diyâra
Ki gördük gizlü genci âşikâre
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
Kerem kânıdur ol şehler emîri
Ki ṭopraḳdan götürdi her faḳîri
Ḫudâ olsun İlâhî dest-gîri
Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ
In English
1. Although we had fallen in love with this city only by hearsay, through the ear, praise be to God that the Creator has shown it to us in all its beauty. Whatever was said about it turns out to be true. What a fine summer pasture this city of Lâdik is.
2. The meadows have put on green brocade; the jasmines light silver lamps (the white jasmine flowers look like burning silver lamps). On every side there are roses, cypresses and jasmine. What a fine summer pasture this city of Lâdik is.
3. Its banks are streams adorned from end to end with Judas trees; running waters flow on every side. These waters give fragrance to the nose and life to the soul. What a fine summer pasture this city of Lâdik is.
4. Its air is temperate and its water is like Kevser (the river of Paradise); its trees are pomegranate saplings, cypresses and junipers. Its grass is basil and hyacinth, its earth is scented with ambergris. What a fine summer pasture this city of Lâdik is.
5. Water lilies grow in its sea (its lake); the yellow face of the water lily tells of love (it recalls the face of a lover turned pale with love). The rose gardens are places for strolling and pleasure. What a fine summer pasture this city of Lâdik is.
6. There a throne-place with a lofty eyvan, a pavilion, has been built; green leaves have become a canopy over it. Inside it sits the shah of that age. What a fine summer pasture this city of Lâdik is.
7. I saw the shah's house flourishing and well kept; inside it I saw that light flashing like lightning; I saw houris standing in rows before it (beauties standing in rank in his presence). What a fine summer pasture this city of Lâdik is.
8. He is one with a face like the sun and a brow like the moon; whoever sees his cheek says "it is jasmine." To walk around his gate is as though to walk around the lofty Paradise. What a fine summer pasture this city of Lâdik is.
9. The tulip, remembering his lips, has grown heated; it stands on one foot and holds a cup in its hand (the tulip's single stem is likened to a leg, its bowl to a cup). It would pitch a lofty tent over itself (its opening petals resemble a tent). What a fine summer pasture this city of Lâdik is.
10. The courtyard of the rose garden had filled with roses; the iris had filled a wine gourd and taken it in hand. The sultan of the meadow is the rose, the one with the fairest face. What a fine summer pasture this city of Lâdik is.
11. The parrot and the turtle dove have tuned their harps to one another; the birds have kept in harmony with the instrument in the melody ("nevâ" means both a melody and the name of a musical mode). The rose-coloured tulip has taken wine in its hand. What a fine summer pasture this city of Lâdik is.
12. The nightingale sang trills there; the rose laughed with its delight and opened, and said: "It is the time of the flask and the wine, not the time for waiting." What a fine summer pasture this city of Lâdik is.
13. All the trees have gathered in this place; each of them would reach up to the moon for joy. An angel must have cast a shadow over them. What a fine summer pasture this city of Lâdik is.
14. The narcissus stands and casts a languid glance at the rose (the narcissus flower is likened to an eye); the buds have opened and adorned their faces. This is the choicest corner of the garden of Paradise. What a fine summer pasture this city of Lâdik is.
15. The flowers have fallen into ecstasy and burst into fervour; some have become drunk, some have fallen silent. They have drunk the cup of love well. What a fine summer pasture this city of Lâdik is.
16. The emir of lovers is the rose-scented carnation; violet, narcissus and rose grow there. Opposite the rose the nightingale cries out. What a fine summer pasture this city of Lâdik is.
17. If you are wise, set out straight for that place; go always to Elmalı Bahçe (the Apple Garden). The trees cast a shade like a great pavilion. What a fine summer pasture this city of Lâdik is.
18. In what tongue shall I describe it? It would not be finished by describing until the day of judgement. Travel the world from end to end and you will not find its like. What a fine summer pasture this city of Lâdik is.
19. A royal bath has been built there; they say its name is the Yeni Hammâm (New Bath). The moon and the sun have become glass in its ceiling (the moon and the sun can be seen through the light-glasses in the dome). What a fine summer pasture this city of Lâdik is.
20. It has a pool whose water is like rose sherbet; its inside has been filled to the brim with rose water. Now in the land of Anatolia there is but one like it. What a fine summer pasture this city of Lâdik is.
21. We have suffered well the cruelty of this age; let us at least see its fidelity once. Let us now enjoy its pleasures with delight. What a fine summer pasture this city of Lâdik is.
22. What a fine time, what fine delight, what a fine moment; joys have come, sorrow and grief have gone. Let me too say this with all my heart at every moment: What a fine summer pasture this city of Lâdik is.
23. Blessed is the fortunate person who stays here always, in this place, for years and months. Alas, a thousand sighs, that our own life has passed (away from here). What a fine summer pasture this city of Lâdik is.
24. Mihrî, pray for the sovereign; for it was by his kindness that you reached this land. We have seen the hidden treasure in the open. What a fine summer pasture this city of Lâdik is.
25. He is the mine of generosity, the emir of shahs; he raised every poor man from the dust. O God, may the Almighty be his helper. What a fine summer pasture this city of Lâdik is.
Literary and Historical Commentary
Structure of the Poem
The fourth murabba of the divan is a long poem of twenty-five stanzas and is written in the hezec metre of the aruz in the pattern "Mefâ‘îlün Mefâ‘îlün Fa‘ûlün". The murabba is a verse form made up of four-line stanzas; when the same line is repeated at the end of every stanza it is called a "mütekerrir murabba" (repeating murabba). The repeated line here is "Ne ḫoş yaylaḳ imiş bu şehr-i Lâdiḳ", and it rhymes in the first stanza with the words "‘âşıḳ, Ḫâlıḳ, ṣâdıḳ". The first three lines of the other stanzas rhyme among themselves. According to Avni Erdemir's count, in thirteen of the twenty-five stanzas the poet was content with rhyme alone, and in twelve she used a redif together with the rhyme (as with "semenler, yâsemenler", or the redif "gördüm" in the seventh stanza). A yaylak is a high, cool place where people go and stay in summer; the refrain line gathers the whole subject of the poem into a single judgement.
The poem is found in all four manuscripts, and Arslan's edition gives the manuscript variants in footnotes. One of them is noteworthy: the phrase "gül-bû ḳaranfül" (rose-scented carnation) in the sixteenth stanza reads "gül Yûsuf ḳaranfül" in the F, M and S manuscripts.
Meaning and Figures of Speech
The murabba is a eulogy of a city. The first stanza sets the frame for the whole poem: the poet had first heard of Lâdik's beauty from others, had fallen in love "through the ear", and on seeing it found that what was said was true. To fall in love by ear, by hearing the beloved's name without seeing her, is a familiar conceit of divan poetry; Mihrî applies it to a place and greets the city as though it were a beloved. The following stanzas draw a picture of a spring garden. In the second stanza the meadows have put on green silk and the jasmines light silver lamps; in the fourth the air is temperate, the water is Kevser, and the earth is ambergris. These similes and metaphors bring Lâdik step by step closer to Paradise; in the eighth stanza walking around the shah's gate is likened to "ḫuld-ı berîn", the lofty Paradise, and in the fourteenth the garden is called the choicest spot of the "garden of Firdaws".
The liveliest part of the poem is an assembly of flowers that runs from the tenth stanza to the sixteenth. Here the flowers behave like people, and the whole company turns into a drinking party. The tulip stands on one foot and holds a cup, the iris fills a wine gourd, the parrot and the turtle dove tune their harps, the birds keep in harmony with the instrument, and the rose, laughing at the nightingale's voice, says "it is the time of the flask and the wine." In the fifteenth stanza some of the flowers are drunk and some are silent. This section is a dense example of personification (teşhis), and a constant congruence of images (tenasüp) is built between the names of plants and the names of instruments and drink. The word "nevâ" in the eleventh stanza can be read both as "melody, voice" and as the name of a musical mode. Gülşen Kaya notes that the water lily and the carnation are each mentioned only once in the whole divan, in this murabba. In the fifth stanza the yellow face of the water lily is said to "tell of love"; the simile of the lover turned pale with love ties the description of nature to the language of love in divan poetry.
The last section of the murabba turns to real places, and this side of the poem sets it apart from a merely ornate picture of spring. In the seventeenth stanza "Almalu Bahça", that is Elmalı Bahçe, is named; the nineteenth and twentieth stanzas describe a bath called "Yeni Hammâm", from the light-glasses in its ceiling to its pool filled with rose water. In the twenty-first stanza the speech returns to the poet's own life: "We have suffered well the cruelty of this age; let us at least see its fidelity once." In the twenty-third stanza she envies the fortune of those who can stay here for months and years and laments that her own life has been spent elsewhere. The last two stanzas are given to the real addressee of the eulogy. Mihrî, addressing herself, says by whose kindness she reached this land and declares "we have seen the hidden treasure in the open"; in the last stanza she praises the sovereign as the "mine of generosity" and the "emir of shahs", and prays for him.
Historical Context
Lâdik is today a district of Samsun; in the Ottoman period it was a kaza (district) attached to Amasya. The princes who served as sanjak governors in Amasya used it as a summer residence. Evliya Çelebi writes that when Bayezid II governed Amasya as a prince he spent six months of every year in Lâdik, and that the town was among the endowments of Bülbül Hatun, the mother of Prince Ahmed. Avni Erdemir's comparative study of this murabba shows that three poets raised in the same literary circle wrote eulogies of Lâdik. Münîrî, the chancellor (nişancı) of Prince Ahmed, described his journey to Lâdik with the prince in a mesnevi of 81 couplets; Mûsâ Medhî of Lâdik wrote two kasides for the city of his birth, one of 59 couplets and the other of 20. According to Erdemir, the poems of Mihrî and Münîrî were written on the occasion of a visit, and it was Prince Ahmed who took both of them to Lâdik. Mihrî's murabba praises Lâdik in its first twenty-three stanzas and prays for Prince Ahmed in its last two. Erdemir notes that the Elmalı Bahçe and the water lilies in the lake in the poem also appear in Medhî's kaside, and that the place called "şâhuñ beyti" (the shah's house) in the seventh stanza must be Prince Ahmed's palace at Lâdik.
The most concrete clue to the date of the poem is the Yeni Hammâm. Relying on Hüseyin Hüsameddin's Amasya Tarihi, Erdemir reports that Bülbül Hatun had a mosque and a bath built in 1509, and he identifies the Yeni Hammâm that Mihrî praises with this building. Since Prince Ahmed left Amasya in 1511 for the struggle over the throne, by Erdemir's reckoning Mihrî's visit to Lâdik and the murabba fall between 1509 and 1511. This dating depends on the identity of the bath and is the researcher's inference; there is no dated record in the poem or the manuscripts. Erdemir also takes the fact that Medhî, who gives the most detailed description of Lâdik, does not mention this bath as suggesting that his kaside may have been written before the bath. Considering the bath together with the words "we have suffered well the cruelty of this age", Erdemir holds that this excursion belongs to the poet's later years.
The first study of the murabba is the article "Mihrî Hâtun'un Gözüyle Samsun'un Şirin İlçesi Lâdik" by Avni Erdemir and Yavuz Bayram, published in Samsun in 2007; Selami Turan also discussed the poem in 2010 as an example of a city eulogy. Erdemir stresses that city eulogies were generally written in the kaside or ghazal form, and that Mihrî's choice of the murabba form is remarkable in this respect. Another detail he points out is that three of the four Lâdik eulogies by the three poets are written in the same metre, the "Mefâ‘îlün Mefâ‘îlün Fa‘ûlün" pattern of Mihrî's murabba.
Bibliography
Primary sources
- Mehmet Arslan (ed.), Mihrî Hâtun Dîvânı, Ankara: T.C. Kültür ve Turizm Bakanlığı Yayınları (Kültür Eserleri Dizisi 576), 2018, p. 166-169, Murabba‘ 4 (F 50b, M 70b, S 52b, Ü 45a). ekitap.ktb.gov.tr
Academic studies
- Avni Erdemir, "Aynı Edebî Muhit İçinde Üç Şair: Mihrî Hatun, Münîrî, Mûsâ Medhî ve Lâdik Methiyeleri", Turkish Studies 13/28 (2018), p. 341-379, doi:10.7827/TurkishStudies.14205. turkishstudies.net
- Gülşen Kaya, Mihrî Hâtun Divânı'nın Tahlili, master's thesis, Fırat Üniversitesi Sosyal Bilimler Enstitüsü, Elazığ 2010, p. 30, 79, 152, 287, 296. openaccess.firat.edu.tr
- Selim Özcan, "Amasya'da Sancak Beyliği Yapan Şehzadeler Döneminde Amasya Şehri", Amasya Üniversitesi İlahiyat Fakültesi Dergisi, no. 5.
Books
- Didem Havlioğlu (ed.), Ğazeliyyāt-ı Mihrī, OTAP electronic edition, 2007 (transliteration published on the türkoloji-iran site, poem 82).
Online sources
